The Good: JMJ!
The Bad: Only old farts like me know who JMJ is…
The Ugly: The younger folk will think JMJ stands for Jimmy Jam… or maybe only the old farts like me know know that one too…
I had a slight grin on my face when this album presented itself this morning, as it reminded me of my first CD purchase.
Back in the mid ‘80s, when slowly but surely the Compact Disc was starting to enter the mainstream, I visited a record store with a friend of mine. Though my intention was to purchase a record (vinyl), he pointed out to me that digital was were it was at…
I forget which record I was going to buy, but I recall finding it in the CD section and proudly carrying it towards the counter so that I could spend some of my hard saved currency, and that was when my friend stopped me and asked to see the case.
Turns out that not all CD’s are the same, and that there was this secret code on the back of the CD which would let you know how digital—read: special—the damn thing would be.
You see, on one of the bottom corners, on the back of the CD case, you could find a sequence of three letters which was build-up by either D or A, my carefully selected CD was showing AAD, and that, for you who are still reading this, meant that my CD might as well have been a cassette tape as the first A told us the recording was Analog, the second A told us the mixing was Analog, and the last D meant that the mastering was done Digitally. I believe this was called the SPARS code, you can search it online.
So what does this have to do with the album we are reviewing today?
Well, while I went back to search for a better CD, and ended up purchasing Ship of Fools by Erasure, my friend was proudly holding up his copy of Oxygene by JMJ with the perfect classification of DDD!
It wasn’t till the mid ‘90s that I started listening to Oxygene (part 4 mainly, sorry) and was able to appreciate the sonic experience that JMJ.
JMJ was the artist who introduced me to ambient music, who made me appreciate works from people like Philip Glass, Enigma, St. Germain, and anything digital really.
With time, one can easily accept the fact that this album does not age well, in the sense that you’d need to have an understanding of early electronic music, to appreciate what you are listening to.
However, would I rate this album high?
I am going to be straight down the middle on this one and stick to the 3*